July 25, 2023 • 43 mins
Sarah Jessica Parker stands alongside the most instantly recognizable actresses in the world. And yet, if you go out for dumplings in New York City’s Chinatown, or loiter in the Whitney Museum—two of Parker’s favorite pastimes—or even just ride the subway, you might well run into her. Parker is a New Yorker through and through, and she won’t let the notoriety she’s garnered through her role in Sex and the City—one she is now reprising in the show’s sequel, And Just Like That…—stop her from taking part in the things she enjoys (and that includes public transportation). On this week’s episode of Table for Two, Parker shares a meal with host Bruce Bozzi to discuss more of the things she loves, Diane Keaton’s acting process, and being a mother. Hear a preview of the episode below, and subscribe wherever you listen to podcasts.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Today's episode was recorded before the SAG after a strike
began on July fourteenth. Table for two thanks you, as
always for tuning in and supporting entertainers. Hey, everybody, thank
you for pulling up a chair for today's episode of
Table for two. We're sitting at the iconic lobster role
(00:22):
in Amagansett, New York, and we're about to have another
great lunch. Okay, well, look who I seek? Come in
my way. Hey beautiful, I'm gonna give you a hug.
Speaker 2 (00:36):
We're hungry today, I'm always hungry.
Speaker 1 (00:38):
My guest today is a dear friend, incredible actress, and
brilliant business person. She's currently celebrating twenty five years of
her show Sex and the City with season two of
Jests Like That on Max. She also has a stylish
footwear line, a book in print, and her own food column.
Speaker 2 (00:58):
Yes, folks, she's.
Speaker 1 (00:59):
A serious food there's your beefsteak tomato?
Speaker 3 (01:03):
Oh my god.
Speaker 1 (01:07):
Being at the lobster role eating and letting the conversation
meander always feels like a classic peak summertime activity, and
there's no better way to celebrate the height of the
season and having lunch with today's guests.
Speaker 2 (01:21):
My friend Sarah.
Speaker 3 (01:23):
Jessica Parker here cheers, Luna. What are you saying, Salu.
Speaker 1 (01:34):
I'm Bruce Bosi and this is my podcast table for two.
Speaker 3 (01:46):
So I tend to I order a lot. I have
a food column, so my editor always wants me to,
you know, have more if we're not going to be
a party of four where we can all share a
lot of dishes.
Speaker 2 (01:57):
Could you remind everyone, like of the paper, it's thick net.
Speaker 3 (02:02):
It's a wire service, so it's like syndicated a lot
of papers.
Speaker 1 (02:09):
Okay, well, I mean over sort of the course of
launching a show, like and just like that season two,
that what's difficult in the process of like, okay, now
you did all that work.
Speaker 3 (02:21):
I think for me it's not. It's been really pleasant
because I decided that it's very different than it used
to be to launch anything news and the way we
talk about things, the pace of our lives and social
media and this just like revolving door of the news
(02:44):
cycle is like our daily life, like, so trying to
talk about something that's important is just different than it
used to be. In the old days, you'd have press
junket days, you'd go on every talk show, you'd do
you know, you pick a few nighttime shows, morning shows,
afternoon shows, you do newspapers, you would do as syndicated,
you would meet with everybody, you'd meet with the foreign press,
(03:06):
and it was formal and organized and it was it
was a lot of work, which was fine if you
if something you care about. But now you're sort of
it's I feel like it's fluid, so meaning like it
keeps changing, Like what's the best way to make impact?
How do you reach an audience? You know, what do
you Are you doing it via social media? Are you
doing it on a podcast? Are you doing it on
(03:28):
There's just so for me, I decided that there's so
much information about the show already, you know, then it
just becomes more You get more concentrated about what you
want to do. So I was like, I want to
do you know, one or two magazines and you know,
one or two visits in the morning, and you know,
(03:51):
did Diane Sawyer and then Cynthia and Kristin and I
did Good Morning America together, you know, I did The
New Yorker and I did Vogue and you I care
a Swisher And that way it feels very specific and
like targeted. I don't mean in a strategic way, but
I guess it is, but just thoughtful, so you're not
(04:12):
just throwing yourself out there and seeing, you know, just
randomly kind of what you know. I don't does that
make sense? It just feels much more disciplined.
Speaker 2 (04:22):
And how you did Howard? You were great on Howard?
Speaker 3 (04:24):
We did, yes, power forgive me, of course, my goodness.
Speaker 2 (04:27):
But you know the thing that do you think?
Speaker 1 (04:29):
Because you know on Instagram there's a pretty great account
for in just like that, you know what I mean?
Like all leading up to the season, I feel as
the as a fan, as a viewer, we're kind of.
Speaker 3 (04:42):
Getting you're seeing it, and I think we you know,
you have to do that now if you're a show
that shoots on the streets all the time, so now
with phones with cameras, everybody shooting what we're doing anyway,
so you have to also have to figure out how
to wrangle all that and have it be our offerings
as well as the public's offerings. So that's active. And
(05:05):
I have an Instagram account and I'm you know, I
always I have a very conflicted relationship with how to
use that, and you know what it is, I think
I just always. There's so many things I want to
talk about. There's things that are personal and not business oriented.
But because I didn't start off an Instagram account promoting work,
(05:27):
it feels harder for me to do it now, as
if I'm exploiting any of the followers. But when I
don't share information about where people are, like why didn't
you share that? So it's a little harder for me
than it is for other people who just began always
business business business business, and the two were mixed and
the lines weren't blurred. It was just like, this is
part of my life. So I try to post about
(05:50):
the show or about my wine or my fragrance or
shoes or books or whatever it is. But I'm glad
that we have official accounts too where you can direct
people because it feels working.
Speaker 2 (05:58):
How you felt about that, It's hard. I thought, oh,
is this official? Is it not?
Speaker 3 (06:03):
Yeah, that's official through h Max now, And then we
have an amazing one that is run through our costume department,
which is incredible.
Speaker 2 (06:13):
I know that one.
Speaker 3 (06:14):
It's called I think, and just like that costumes. Okay,
and the Max one is great too, But costumes is
a kind of deeply personal it's sort of it has
a sort of in real time, and it's Molly Rogers
who is our costume designer, and Danny who is again costumes.
Speaker 1 (06:33):
Go, yeah, do you find you know? I spoke to
Scarlet had lunch with me Johansson.
Speaker 3 (06:47):
It was so great.
Speaker 1 (06:49):
Scarlett would say how difficult it is to shoot on
the streets of New York City. And alternately, when she
sees a crew shooting and it gets hurt, even when
it's like not her, she gets queezy.
Speaker 2 (07:01):
But also.
Speaker 3 (07:03):
Funny.
Speaker 1 (07:04):
I don't mean that no, but what it evokes for
people like yourself. I know that happens to you. How
difficult is it to get through a take?
Speaker 3 (07:11):
I mean, on a practical level, it's hard because the
crowd control is an issue. So if you're shooting a
scene on Perry Street, for instance, and there's four hundred
five hundred people, you have to first of all get
equipment through there, and then you're asking everyone please, you know,
be quiet, what we call action. No cameras, no shutters,
(07:33):
no response to the scene, because now they're just witnessed
like you're in a priscenium stage, you know, like a theater.
More complicated than that because the crowds tend to be
really cooperative, sweet they're excited to be there. Some are
New Yorkers, some are and some people just hanging out.
I mean as equal to the street people are the
people that are out hanging out their windows in their apartments,
(07:56):
fire escapes, crazy leaning out. But it's the paparazzi that
is a more complicated affair because you can hear their
shutters and it can ruin a take. And they are
because you don't own the streets. You get a permit,
but we don't dictate sidewalks. To some degree, we have
a footprint, but they are typically right next to the
(08:19):
lens or right over the shoulder of the person whom
you're playing opposite in a scene, so they are in
your eyeline all the time, and some are doing it
purposefully and some are That's kind of where they've found
themselves because they've watched rehearsal. They know what the scene is.
And that's really hard, and that's taken a really it's
been years and years and years of that, and some
(08:40):
of them are more provocative than others. But I think
it's just that is our cross to bear, and we
sort of have to make peace with it, and I
struggle with a little bit. But what are you going
to do? I mean, we can't be inside. We don't
want to be inside. We want to be on the
streets of New York and we want to be active
and we want to be able to still have scenes
that are excited, you know, and interesting and dramatic and
(09:03):
funny and absurd.
Speaker 1 (09:06):
So you just say, it's such an important character. Ye
you made that way back when. I mean, and your
love of New York and you know, and Matthew's love
of New York, your husband and my love like that
for the show. That's key and when you're watching you
guys walk down the street, is it's magical.
Speaker 3 (09:24):
Thank you, We love it. And I will say the
way that it works is an incredible a d department
as well as our crew who were just really used
to it, and they're used to the crowds, they're used
to moving equipment in and out, and there is much
a part of making it possible as anybody else, like
as any of our emotional kind of exchanges with it.
Speaker 1 (10:07):
Thanks for joining us on Table for two. Carrie Bradshaw
is one of the most memorable TV roles of the.
Speaker 2 (10:13):
Past quarter century.
Speaker 1 (10:15):
And over the years, Sarah Jessica has truly brought her life.
I'm curious what's it like to prepare to play such
an iconic character. I once watched a documentary on Marilyn
Monroe and she was talking to I think Susan Strasburg
at the time, and she was about to go down
(10:35):
the stairs, and there were all these press and the
people there, and she said, do you want to see her?
Speaker 2 (10:40):
Watch? When do you want to see her?
Speaker 3 (10:42):
And she Marilyn was talking about herself.
Speaker 1 (10:44):
Talking about herself, and when she went down the stairs,
she looked at the press and her voice changed, and
then Marilyn showed up. Is there something in your day
when you go to work and now you're bringing Carrie
Bradshaw to life?
Speaker 2 (10:59):
Is there a piece jewelry?
Speaker 1 (11:00):
Is there a moment where you go, Carrie's here, She's
in the room now?
Speaker 3 (11:05):
Action?
Speaker 2 (11:06):
Action?
Speaker 3 (11:07):
Action? Yeah. I mean you walk to the set, maybe
up sweatpants, covering part of your outfit because it's twenty
four degrees and it's February, and you have your own
tote bag with your books and your phone in it
and a snack or whatever, and you have maybe a
parka on over a ball gown right, and gloves and
(11:28):
you know, silk liners underneath, and then you rehearse and
then you strip right and the minute that you take
all of the outer layers off and anything that's keeping
you comfortable or closer to you because it's for you
versus for Carrie. The minute I take it off, then
someone calls action. She's there, Yeah, I mean she isn't
(11:50):
always there exactly as I want her, because that's the
nature of acting is It's like you're not a machine.
So you can't like push a button and say like
Carrie's set Carrie silly, Carrie confused. Yeah, So she's there
as much as I can control. But that's when it is.
It's not before and it's not after.
Speaker 2 (12:10):
Cut interesting, that's really but you have to.
Speaker 3 (12:13):
Have all those layers off to do it, you know,
and you have to be totally willing to have all
the things away from you that are comfortable.
Speaker 1 (12:23):
Right, because that would distract from it's.
Speaker 3 (12:26):
Then it's not you're not complete, right. Yeah.
Speaker 1 (12:29):
Were you amazed at the effect that you had in
New York with style and with women and men in
the nineties, I really you get you know, you're credited
and justifiably so for really shifting a whole conversation and
(12:50):
look and now again. So I guess my question is,
were you, like, when was there a moment that you
looked across the street and saw somebody and you're like,
she's dressed like Carrie Bradshaw.
Speaker 3 (13:03):
Yeah, I think over time and I will say that
really is Pat Field and Mollie Rogers. Originally, you know,
Pat was our original custom designer, as you know, she's incredible.
Mollie Rogers was there from day one of the original show.
So I think what we all recognized the ways in
which the show was influencing life, whether it was the
(13:23):
flower you know, or the Carrie name plate yep, or
you know, walking down the street with two purses versus one,
or two pocketbooks versus one pocketbook, or or you'd start
to see young women gathered four and five on a
Sunday for brunch, right and you'd just see more of it,
or groups of women walking. You'd see a kind of
(13:48):
emotional life that wasn't as visible in certain ways. But
the clothes had a huge impact. And I think that
was because Pat never and Molly Patt they know, I
ever felt that they had to answer to anybody or apologize.
I'll speak specifically to Carrie, who has a very specific
(14:09):
relationship with fashion as well vintage. So I think, you know,
there were lots of hits, and there were, in many
people's opinion, lots of misses, and to us, none of
it was a mistake. Like you had. You had to
take an approach and be totally monogamous to an aesthetic idea.
(14:31):
And when you do that, like in anything, it's arresting.
You know, if somebody writes a book and uses a
voice that you've never read before, everybody's going to talk
about it. Or think of early images on MTV and
what made us all stop and watch a video a
(14:52):
hundred times? You know, music, architecture, you know, anything anything
that feels from bush unique and yet unseen, but not arbitrarily.
So you can't just be ridiculous, because you can be
and it really doesn't look like there's any point of
view or perspective. It looks just like you're trying to
(15:13):
be controversial exactly. So I feel like the things that
were influential were because they were a real choice. And
then you you know, you know, in the beginning, I've
told destroy many times that we didn't have anything. In
the beginning, nobody would loan us anything. We were getting
most of Carrie's wardrobe from vintage and consignment shops and
(15:38):
Century twenty one. Occasionally we could afford a dress off
the rack at a finer department store like Sacks.
Speaker 2 (15:45):
But that was very rare for the Plaza.
Speaker 3 (15:48):
That was the most expensive dress they ever bought. It
was a Christian dey or simple sheath dress. I've heard
it was every anywhere from six hundred to eight hundred dollars.
But that would have been like, yeah, you'd be making
decisions then okay, well if you do, we get that,
then we can't have that. Like that wasn't alone. That
was a blue chase.
Speaker 4 (16:08):
Yeah.
Speaker 1 (16:18):
What I think about with you is just how you
live your life. And you do live your life just
like smartly and like you're a self made human that.
Speaker 2 (16:27):
Has been working her whole life.
Speaker 1 (16:29):
And I think that there's an appreciation for what you have,
what you've earned. You've imparted that with your children, and
that's important because it's easy not.
Speaker 3 (16:39):
To and well you're I mean, I think all of
us are making similar choices. We're trying to, you know,
for a bunch of reasons. Whether it's because you always
think you're going to be poor, you always think you're
going to be broke, you know, some of us think
like that, or we're worried we will be Also because
you don't want to blow through money foolishly and spend
(17:02):
it on things that don't really add up over time.
And also you want your children to understand what it
means to earn money, what it takes to earn money,
and the value of it, and that they the expectations
will be the same for them. You know. Colly Parton
(17:23):
said that when she was growing up, she always had
let me say this, I think she not didn't set
this about growing up. I think maybe in terms of
someone will correct this quote, but it was either about
taking care of family, nieces and nephews, or the way
she was raised. And I can't remember, so forget me.
(17:43):
But she always she said, you always have everything you need,
but not everything you want. And I can't remember about
what she could who she was talking about, but I
think it's a great way of living for children that
there needs are meant to be fed and safe and loved,
and you know the important things in life, you know,
(18:05):
books and food and interesting experiences, and they're warm in
the winter and cool as they But they should be
kind for things. They should want things, and we should also,
I think, be interested in how do they contribute to
the things at a certain point exactly.
Speaker 1 (18:22):
You know, to Ava to recently like she's at the
age where I'm like, you know, okay, if you want
something now you have to figure out how to contribute
to purchasing. You know. The ease of Amazon and the
ease of a telephone makes things very easy, and sometimes.
Speaker 3 (18:38):
You forget how the how got There is a gorgeous
is it good?
Speaker 2 (18:42):
The Gannette? The burger perfect?
Speaker 3 (18:44):
I might have you, honestly, do just a little box
inside the column just about the burger. You know what
I mean? Because I promised editors that it would be
more fish because of the location. But I might since
the burger here is so good, we might just do
a box. Since I the column. Please leave the stuff
at about the column? Have I said that already?
Speaker 2 (19:15):
You are an avid reader? You have an imprint you.
Speaker 1 (19:20):
I just got a book that you send which I
have not yet started.
Speaker 3 (19:23):
And Paradise, Yes, great, it's just got a beautiful review
The New York times just this morning when you're picking.
Speaker 2 (19:30):
Up Wow, yeah, congratulations.
Speaker 3 (19:33):
Yeah to the writer writer Alia Chang.
Speaker 1 (19:36):
But also like I mean you aren't you picked right?
Oh yeah, you pick both. But yes, I mean you've
always been a bookie, which I love. And because with
my mother, really she was a librarian.
Speaker 3 (19:50):
She wasn't although actually she said she'd always wish that
she had gotten her degree, you know, as a librarian,
which is a very hard degree to get, very I
do not very hard degree to get really, but she
was an educator. She had her she's a graduate in
she was you know, her specialty was early childhood education.
(20:13):
But she taught up Yeah, so she taught up to
second grade and then she stopped after I was born.
I'm one of eight kids, so she and I'm the
fourth of the eighth. But my mom always my mother
never let us leave the house without something to read.
And that meant even when we couldn't read, So we
would be in the car with picture books or books
that had words and we were not able to read them,
(20:34):
she said, make up, make up your own story, and
she would do the same. She would take us to
this was in Cincinnati, Ohio. We had an incredible library there,
and but she would also take us to the symphony
and the opera and the ballet and art museums, and
we always had a book. And symphony to a very
young child, forgive me, is very boring, but she would
(20:54):
let us have a book, so we would be hearing
this beautiful music and then we'd be looking at a
book in the sament and art museum. You know, we
get bored walking around and you're tired, you're little. Yeah,
she just say just sit on that bench. You've got
your book. Every now and then look around, see that
beautiful painting.
Speaker 2 (21:11):
Online, like holy moly.
Speaker 3 (21:13):
And there came a point in our lives as young
adults where it just became our choice to not leave
the house without a book or something to read, something
to read. The idea of being stuck somewhere for two
minutes or two hours or two months. Sometimes they see
people get on the plane and there's nothing in their hands.
There is nothing in their hands.
Speaker 2 (21:34):
Yeah yeah, I'm like, what are you gonna do?
Speaker 3 (21:36):
What you could do?
Speaker 2 (21:37):
Right? And it's valuable time.
Speaker 3 (21:38):
And I don't mean a phone, because that's the sad
thing is most people are looking at their phones, but
like it just stuns me that you could. And by
the way, listening to a book too, like anything that
makes an experience your own, versus the way we all
get information now, which is kind of siloed, like we're
all getting from the same source. But books take you,
(21:59):
LL swear, they transport you. You learn about other cultures,
other religions and their tribes, their villages and their countries, other.
Speaker 1 (22:07):
Food and just you know, you said, we last summer,
we were meeting for dinner and you were running just
a little late, and you said, and you knew you
were running mates, and you said, bring a book. Yeah,
that was like, bring a book. And now I don't
know if I would have brought a book, but I
brought a book. I brought the book I was reading,
and it was like it was like never alone, never alone.
Speaker 2 (22:29):
And you can also kind of avoid it.
Speaker 3 (22:31):
I wish we You know, you grew up in New
York and it was so great. I know you were
on subways early in the morning, and we all had
our bus pass and stuff like that. But I mean,
and and buses too, like city buses. I thought there
was to me, there was nothing greater than getting on
a bus or a subway early early morning, and people
got their New York Times out, and you know those
people that knew how to fold the Times, and how
(22:53):
about the people that wore the gloves? Yes, because of
the newsprints right exactly. And people you could smell people's colognes.
People hair were wet from the showers. You could smell
like what they shampooed. And you'd look around and you'd
be like, oh my god, what is that book. I've
never seen that book. You've be talking to people, what
is that book? What are you reading? What are you reading?
Speaker 1 (23:09):
And everyone was sort of present because people didn't have
things in the rs.
Speaker 3 (23:13):
Because it makes if you see a book on a
subway car or a newspaper, it's just shocking. I mean,
and you're like, oh my god, look someone's reading. I'm like, Matthew,
looks someone's reading a book.
Speaker 1 (23:25):
Sarah, Jessica and Matthew are avid subway writers, like you're.
Speaker 2 (23:29):
It's the smartest way I know that.
Speaker 1 (23:31):
You know people that surprises people sometimes, but New York
is that kind of city. And you also soak in
like when you're like, yeah, what are your And I
love to walk so like I'll walk forever in New
York just to soak it a reason to walk, right,
what a given sort of Sarah Jessica has no work,
which is a very rare day.
Speaker 2 (23:52):
What is like a day for you that you enjoy
in the city.
Speaker 3 (23:55):
Ideally, Yeah, I'm very bad about getting out of the house.
Once I'm out, it's fine, but I can think of
a million things to do in the house. But ideally
I would, you know, have my head bones on early walking, walking,
listening to a podcast, listening to WNYC Brian Lair, who's
like one of my most favorite on air personality hosts,
(24:17):
thoughtful thinkers. But podcasts are a great friend because you
can't read, and I don't listen to books. So then
maybe I would jump on a train and I would
take the train with my book and I go to Chinatown,
you know, have some dumplings, have some lunch, have some noodles,
some vegetables. Then I would for sure maybe walk home
from Chinatown listening which I do, I don't. I mean,
(24:38):
I've been to Chinatown and I say three or four
times in the last two months, because I love it.
Speaker 2 (24:45):
You've always loved it.
Speaker 3 (24:47):
Love it, I would say. Then I could make a
pit stop at the Whitney on the way back, see
what's going on there. That's like an ideal day, you.
Speaker 2 (24:54):
Know, wrapping you home in the afternoon to them maybe.
Speaker 3 (24:59):
The kids are coming home from school, or maybe I
can take care of some stuff or some calls, or.
Speaker 2 (25:05):
Cook dinner.
Speaker 3 (25:06):
We cook every night. We cook every night. It's a
source of a huge amount of pride for everybody. But
it's also like mystifying because we just don't order in
as a family, and on the rare occasion we have,
we we always here. Like other families, they do it
and then like one kid orders from this place, and
(25:27):
when it's so confusing.
Speaker 1 (25:29):
Everyone's now postmating their own meals in. It's insane.
Speaker 3 (25:33):
But we really do cook five to six nights a week,
for sure. We try to. We we have always have
a Sunday dinner. We invite people. We often go on
Sundays to Jeans. Do you know Jeans? I don't, Oh
my gosh, we go to Jeans. It's on Eleventh between
fifth and sixth closer to six thousand year.
Speaker 2 (25:53):
I live right around from there and I've never been.
Speaker 3 (25:55):
It's a neighborhood establishment's been owned by the same family
since the mid seven Two brothers now two brothers own it.
It's one of the most It is the portrait of
a local restaurant. It's Italian food. If you walk in there,
(26:17):
you are bound to see at least five or seven
of the same people you see every time you go there.
It's a beautiful, low ceiling room. You walk down some
old beat up marble steps. There is a bar that
greets you right in the front that is one of
the most beautiful little bars ever that It's just one
big back room with the most lovely servers. I have
(26:38):
the same thing every time, and I always talk with
the kids like I'm like, when am I gonna order someone,
I'm not gonna You're gonna get the vil pacata extra
large order. You're gonna get a side order of the
apasta palmadoro. And we go around the table. Everybody knows
what we're gonna order. What's papa, what's Papa gonna order?
Shrimp diavolo. You know it's it's just a friendly place.
Speaker 2 (26:56):
I know exactly where it is.
Speaker 3 (26:58):
We'll talk to you, they come up to the table,
they catch up. Yeah. And then another place that we
love is La Repai. You know it. It's been on
Hudson for forty years. It's Hudson just across basically from
Bleeker Street Park.
Speaker 2 (27:13):
Okay, it's an old French restaurant, yep.
Speaker 3 (27:18):
But that's like our family thing. And we'll say, like
we call Victor and Victor Barbon and be like, oh,
Victor's alone in town, Victor will come for dinner, or
Jeffrey Hickey whoever.
Speaker 1 (27:27):
Yeah, you have you, you and Matthew you have you know,
your tribe, and it's such a beautiful tribe.
Speaker 2 (27:33):
And over the years, you know you're a part of it.
You are no thank you, no, no yours.
Speaker 1 (27:39):
I feel I know, but and I feel like I'm
about I feel like we all have we share something.
Speaker 3 (27:44):
Very specially Matthew leaves you, he's like he just loves
you so much.
Speaker 2 (27:49):
He is, Yeah, he really loves you. That's that means
a lot to me.
Speaker 3 (27:53):
And you lived here, you'd be at Jeans every Sunday too, thank.
Speaker 2 (27:55):
You, thank you, thank you.
Speaker 1 (27:57):
And I love that in the sense of the family
and the Sunday night and the rituals, like this is
all we got, like you know what I mean. So
it's like and the kids then they're gone before you
know it, and they're in their world and you just
hope that. Okay, So these are really important moments.
Speaker 3 (28:12):
Yeah.
Speaker 1 (28:12):
One of the reasons I come out here because my
parents are here and my sister's here, so just to
make sure we do connect with Yeah.
Speaker 3 (28:18):
Absolutely, and it's not always perfect. There's always at least
one fight over this one.
Speaker 2 (28:24):
Like the other. Yes, they're in the shower. I was like,
I can't breathe. I can't breathe in this house.
Speaker 1 (28:29):
This how I maybe I haven't breathed in this house
for over twenty years.
Speaker 3 (28:34):
It's possible I haven't taken a deep breath.
Speaker 2 (28:36):
Yeah, seriously, Welcome back to Table for two. Sarah. Jessica
(29:00):
has been a close friend for years.
Speaker 1 (29:03):
But there's a story about us that I've never told her,
and well, I'm just gonna come out and finally tell her.
So I want to share with you a story that
is you don't know the story. It's one of the
most embarrassing moments of my life. What it happened with you?
(29:26):
And it is and I'm gonna tell you quickly because
this is about this lunch is about you.
Speaker 2 (29:31):
But you ate all yeah, yeah you did, but you
should because you love it.
Speaker 3 (29:36):
Oh my God, No, there's a big literally, there's a
claw left. Take a picture from my editor. Hold on, click.
Speaker 1 (29:42):
Click, okay, just quickly. I was a page at NBC
in nineteen ninety. I moved out to LA. I was
just a super you know, big fan. LA story comes out,
you guys to cast LA. Story is on pheladwa you.
I had worked as a page on the show in
New York You want yep. I was in the audience
(30:05):
with my friend Stephanie.
Speaker 3 (30:06):
As a page or as a civilian.
Speaker 2 (30:08):
As a civilian. Now in La, you guys are all there,
and I just came to LA.
Speaker 1 (30:13):
He did a week of shows in La. Wow, you
guys were doing press. I am the story.
Speaker 3 (30:18):
And Steve Martin and me and Victoria Tenant and the
guy yes Richard.
Speaker 2 (30:25):
Yes, all of you lined up in your chairs.
Speaker 3 (30:28):
Were we swiveling? Were they swivel chairs?
Speaker 4 (30:29):
Like?
Speaker 3 (30:31):
No, no, no, no, they were.
Speaker 1 (30:33):
And it's a story that goes nowhere with the exception
of just I finally feel like I have.
Speaker 2 (30:37):
To just get this off my chest. Stephanie is sitting
next to me.
Speaker 1 (30:41):
I raised to ask a question for Sarah Jessica with
no question, but just wanted to connect.
Speaker 2 (30:49):
So I raised my hand. The guy could go with
the mic. I always want take the mic because I'm
a pushy person.
Speaker 1 (30:57):
Stephanie looked at me and I'm uttering nothing. I mean
stuttering and uttering.
Speaker 2 (31:05):
You look at me. You have face.
Speaker 1 (31:07):
Guys, you tell it like to the right, like what
is he? What is this person doing? She has gone
under her seat. I was mortified.
Speaker 2 (31:18):
She couldn't stop me and I'm I have tears in
my eyes.
Speaker 3 (31:21):
The machine.
Speaker 1 (31:22):
But I just wanted you to know that's how far.
That's the moment that I was like, oh my god,
this is connection.
Speaker 3 (31:28):
You did ask a question.
Speaker 2 (31:28):
Eventually something came because we saw.
Speaker 3 (31:31):
In a statement like you're on TV. I have a
question for.
Speaker 2 (31:36):
No, Yeah, you're in a chair. That story is now over.
Speaker 3 (31:41):
I just had to finally, that's very touching. Wow.
Speaker 1 (31:55):
The other tradition that I have in my house is
family stone and I'll say it over and over again.
And I actually posted it on Instagram when I watched
it at Christmas time, and Diane Keaton on my feed
she's a beautiful movie, beautiful, You're incredible.
Speaker 3 (32:14):
Watching her work on that movie was really why incredible
because you know, I think we did First Wives Club
before that movie and positive ready. So I had worked
with her minimally because I don't have I don't think
my character had a lot of scenes with her, but
you know, I just think she's incredible, and so I had,
(32:38):
you know, I was on the set with her a lot.
We rehearsed a lot, first of all, which was really
interesting and very I was really, really nervous. But watching
her work is a very interesting experience. She's really good,
she's very she has a process that's very real and
(33:00):
very committed to. She always has headphones on with a
i'm gonna say a disc man. Really, even at the
time was retro. She's listening to music up until the
director calls action something I'm sure that is specific to
a scene or an emotion, and so she takes the
(33:22):
headphones off and puts them down someplace or hands them
off to somebody. And she is different every time. I mean,
appropriately for the scene. She's not not telling the story,
but she's very you know, for all of her laughter
and the way she's on a talk show, which is
(33:44):
funny and unpredictable and kind of deeply honest and shocking
in her transparency. But she's just so freaking good. So
to watch her do her work like that, because you
don't understand how somebody who appears so effortlessly real on screen,
you know, she's not so bad. It was just very
I was like, oh, so you can you can be
(34:07):
a serious person on the set. You can not talk
to people when you don't need to talk to people.
You can be you know, focused and quiet and kind
of private, like if someone has headphones on, you're not
going to bother them, right, And it wasn't unsocial. It
was serious, but it was it wasn't hostile, do you know.
(34:30):
I mean like there was no one around her keeping
you from talking to her. But it was incredible to
watch her work. And she's just magnificent.
Speaker 1 (34:48):
Your business life is so profound. I mean the fragrance
is to shoes the No Shoe store, which is beautiful
on Perry Street, gorgeous. What was that experience like and
being in the hot that side of hospitality where you're
selling your shoes to a customer and putting them on
their foot.
Speaker 2 (35:05):
How is like?
Speaker 1 (35:06):
Again, people would be like, really, but it's beautiful as well.
Speaker 3 (35:11):
It's the same. Honestly, you know this, you can describe
it just as well. It's exact same thing as what
you did at your family restaurant for your entire life.
It's taking care of the customer. What does that mean everything.
It's from the smallest, littlest thing to the most important
to the stuff that's more obviously big. So you're on
(35:33):
your hands and knees, putting shoes on people, taking them off,
read running back to the stock room, trying to get
what they need, trying to find what they need if
we don't have it looking online, you know, making sure
we can do a special order for this one who's
leaving town, who flights at five o'clock. Whatever it takes
to meet the customer's needs, requests, and then ten steps
(35:55):
beyond that. You never you never stop at that. You
go well beyond that, you know. So that's what it
is to have a store. It's like it's like inviting
someone into your home and then saying, you know, find
the towels. I know you've never been here yourself, but
good luck, you know, find the towels, and there's some
spices in that room over there. You know, you can't
(36:17):
do that customstly.
Speaker 1 (36:19):
You're the kind of professional person that if you're going
to put anything that is about your name on something.
It is going to reflect quality elegance, So like you
being able to go into the store, work in the store,
or just go buy that store to make sure.
Speaker 2 (36:36):
Okay, yeah, how does it look?
Speaker 1 (36:38):
Is it creat Are the shoes placed the way they
that we wanted this season's shoes.
Speaker 2 (36:42):
To look correct?
Speaker 1 (36:43):
Very important time and for people that work not to
always know.
Speaker 2 (36:47):
It's just part of the part of the drill.
Speaker 1 (36:49):
Were you blown away that you created a drink that
is worldwide known and associated with Kerry Bradshaw.
Speaker 3 (36:55):
Well, I you know, I didn't create it. I had
nothing to do with it. I know that when we
first started drinking them on the show, the ones on
the show were that kind of cosmopolitan that you later
learn are not the good ones. They were first of all,
ours weren't real. They were cranberry juice and water. But
(37:15):
there is You can go to a bar and be
served a cosmopolitan that is like just cranberry juice. You
know what, It's like, almost Bordeaux colored. It's like a
pinky kind of Bordeaux or ferry color. So I never
drank cobs and Politans. I thought they were terrible. You're drink,
So it was years and years, I would people would
(37:38):
send them over to me so kindly. People would send
them over and I would say thank you and raise
the glass and take a sip and think like, what
is the what it's all the fuss about? And then
one day I was somewhere and someone sent a Cosmopolitan
over and it was opaque, pale, pink, fleshy, like you
(37:58):
could see the a little bit of pulp of whatever
citrus had been used with a twist, freezing cold. And
I was like, oh, this is a Cosmopolitan. I get
it now and I love them now. And that's been
I would say, I really started drinking Cosmopolitans that I
(38:21):
chose on my own and would order I'm going to
say like six seven years ago, and I love them.
I don't know that we ever expected from the show,
from drinking them that it would turn into a thing.
Speaker 2 (38:32):
Well.
Speaker 1 (38:32):
I mean that, I think just again testament to all
the touch points and the power of the show in
the zeitgeist of the moment that people were like, oh
and the creation of Carrie Bradshaw that with the influence
that this.
Speaker 3 (38:47):
Character had, Yeah, that funny. You can't think about these
things too much, and you can't try to write.
Speaker 2 (38:55):
Right, you can't create them.
Speaker 3 (38:58):
It has to be from the story and true, or
it just looks like you're just trying to make a moment.
Speaker 1 (39:06):
I mean, if you're trying to achieve the end result,
you're gonnat that you can't.
Speaker 2 (39:10):
You got it.
Speaker 3 (39:11):
It's I always say, like, you can't start with a
result and then write kind of into it backwards like that.
It's just awful.
Speaker 1 (39:25):
Sarah Jessica and I have had such a fun and
delicious lunch today.
Speaker 2 (39:30):
Thank you all for pulling up a chair. I hope
you have two.
Speaker 1 (39:33):
But as our time together comes to an end, I
want to congratulate Sarah Jessica on twenty five years of
Sex in the City and hear her thoughts about its
continued success. We sort of are wrapping up our lunch spark,
and I just want to say, I like everyone's listening.
There's like a lot of stuff for you to, like,
(39:54):
I hope, lean into when it comes to Sarah Jessica Parker,
which is not just and just like that, which is
congratulations so good. I mean, it's just amazing, and you know,
I love it.
Speaker 3 (40:03):
And thanks to everybody who's been watching it and who
has been part of the family of it for so long.
You know, we just celebrated the twenty fifth anniversary of
Sex and City, and it's hard to try to communicate
or articulate the kind of I always use the word gratitude,
but for the the gratitude that we feel for the
(40:28):
people who have chosen to keep us in their lives.
You know, we weren't on a free television station. People
made choices about how they were going to spend the
time and how are they were going to spend their money,
to be honest, and kept us in their lives for
twenty five years and have joined us on this next
chapter with such enthusiasm and such spirit and goodwill and excitement.
(40:53):
And it's obviously the only reason we do it is
for this audience who has been a point of inspiration
for us and been loving and hard on us and
have really high expectations. So it's an honor to try
to do right by this long relationship.
Speaker 1 (41:15):
Well, it is joyful to watch, and I thank you
for giving me twenty five years of that and a
very long real friendship.
Speaker 2 (41:25):
Oh my god, very meaningful. I love you too.
Speaker 3 (41:28):
I love you more than all the other people who
come on this show. I know you better, I love
you more.
Speaker 2 (41:32):
You know what, it's very back at you. It's a
context anyway.
Speaker 3 (41:35):
Everyone's like, oh, you don't know.
Speaker 2 (41:40):
Don't forget to go online read the review of the.
Speaker 3 (41:43):
Gannette and it Typically I've got a couple people on vacation.
My editor on holiday for a couple of days, typically
takes the weekend, which I want to give him because
you know, you're on twenty four to seven when you're
in the newspaper business. So I'll make sure your followers
know how to win it posts.
Speaker 2 (42:02):
Yeah, bom, some of you guys still.
Speaker 3 (42:04):
Get the hard copies of your local newspapers and you
know who you are.
Speaker 2 (42:09):
Anyway, Thank you for listening today on Table for two.
You got it.
Speaker 3 (42:12):
Love you Smokey, how fun?
Speaker 2 (42:14):
I Love you too.
Speaker 5 (42:24):
Table for two with Bruce Bosi is produced by iHeartRadio
seven three seven Park and Airmail. Our executive producers are
Bruce Bosi and Nathan King. Table for two is researched
and written by Bridget arsenalt. Our sound engineers are Paul
Bowman and Alyssa Midcalf. Table for two's LA production team
is Danielle Romo and Lorraine Verrez. Our music supervisor is Randall.
(42:47):
Poster Our Talent Booking is by James Harkin.
Speaker 1 (42:50):
And a special thank you to all the people who
work at the Lobster Role better known as Lunch on
Montauk Highway, and a special shout out to Andrea, Thank
you so much.
Speaker 5 (43:00):
More podcasts from iHeartRadio visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Today's episode was recorded before the SAG after a strike
began on July fourteenth. Table for two thanks you, as
always for tuning in and supporting entertainers. Hey, everybody, thank
you for pulling up a chair for today's episode of
Table for two. We're sitting at the iconic lobster role
(00:22):
in Amagansett, New York, and we're about to have another
great lunch. Okay, well, look who I seek? Come in
my way. Hey beautiful, I'm gonna give you a hug.
Speaker 2 (00:36):
We're hungry today, I'm always hungry.
Speaker 1 (00:38):
My guest today is a dear friend, incredible actress, and
brilliant business person. She's currently celebrating twenty five years of
her show Sex and the City with season two of
Jests Like That on Max. She also has a stylish
footwear line, a book in print, and her own food column.
Speaker 2 (00:58):
Yes, folks, she's.
Speaker 1 (00:59):
A serious food there's your beefsteak tomato?
Speaker 3 (01:03):
Oh my god.
Speaker 1 (01:07):
Being at the lobster role eating and letting the conversation
meander always feels like a classic peak summertime activity, and
there's no better way to celebrate the height of the
season and having lunch with today's guests.
Speaker 2 (01:21):
My friend Sarah.
Speaker 3 (01:23):
Jessica Parker here cheers, Luna. What are you saying, Salu.
Speaker 1 (01:34):
I'm Bruce Bosi and this is my podcast table for two.
Speaker 3 (01:46):
So I tend to I order a lot. I have
a food column, so my editor always wants me to,
you know, have more if we're not going to be
a party of four where we can all share a
lot of dishes.
Speaker 2 (01:57):
Could you remind everyone, like of the paper, it's thick net.
Speaker 3 (02:02):
It's a wire service, so it's like syndicated a lot
of papers.
Speaker 1 (02:09):
Okay, well, I mean over sort of the course of
launching a show, like and just like that season two,
that what's difficult in the process of like, okay, now
you did all that work.
Speaker 3 (02:21):
I think for me it's not. It's been really pleasant
because I decided that it's very different than it used
to be to launch anything news and the way we
talk about things, the pace of our lives and social
media and this just like revolving door of the news
(02:44):
cycle is like our daily life, like, so trying to
talk about something that's important is just different than it
used to be. In the old days, you'd have press
junket days, you'd go on every talk show, you'd do
you know, you pick a few nighttime shows, morning shows,
afternoon shows, you do newspapers, you would do as syndicated,
you would meet with everybody, you'd meet with the foreign press,
(03:06):
and it was formal and organized and it was it
was a lot of work, which was fine if you
if something you care about. But now you're sort of
it's I feel like it's fluid, so meaning like it
keeps changing, Like what's the best way to make impact?
How do you reach an audience? You know, what do
you Are you doing it via social media? Are you
doing it on a podcast? Are you doing it on
(03:28):
There's just so for me, I decided that there's so
much information about the show already, you know, then it
just becomes more You get more concentrated about what you
want to do. So I was like, I want to
do you know, one or two magazines and you know,
one or two visits in the morning, and you know,
(03:51):
did Diane Sawyer and then Cynthia and Kristin and I
did Good Morning America together, you know, I did The
New Yorker and I did Vogue and you I care
a Swisher And that way it feels very specific and
like targeted. I don't mean in a strategic way, but
I guess it is, but just thoughtful, so you're not
(04:12):
just throwing yourself out there and seeing, you know, just
randomly kind of what you know. I don't does that
make sense? It just feels much more disciplined.
Speaker 2 (04:22):
And how you did Howard? You were great on Howard?
Speaker 3 (04:24):
We did, yes, power forgive me, of course, my goodness.
Speaker 2 (04:27):
But you know the thing that do you think?
Speaker 1 (04:29):
Because you know on Instagram there's a pretty great account
for in just like that, you know what I mean?
Like all leading up to the season, I feel as
the as a fan, as a viewer, we're kind of.
Speaker 3 (04:42):
Getting you're seeing it, and I think we you know,
you have to do that now if you're a show
that shoots on the streets all the time, so now
with phones with cameras, everybody shooting what we're doing anyway,
so you have to also have to figure out how
to wrangle all that and have it be our offerings
as well as the public's offerings. So that's active. And
(05:05):
I have an Instagram account and I'm you know, I
always I have a very conflicted relationship with how to
use that, and you know what it is, I think
I just always. There's so many things I want to
talk about. There's things that are personal and not business oriented.
But because I didn't start off an Instagram account promoting work,
(05:27):
it feels harder for me to do it now, as
if I'm exploiting any of the followers. But when I
don't share information about where people are, like why didn't
you share that? So it's a little harder for me
than it is for other people who just began always
business business business business, and the two were mixed and
the lines weren't blurred. It was just like, this is
part of my life. So I try to post about
(05:50):
the show or about my wine or my fragrance or
shoes or books or whatever it is. But I'm glad
that we have official accounts too where you can direct
people because it feels working.
Speaker 2 (05:58):
How you felt about that, It's hard. I thought, oh,
is this official? Is it not?
Speaker 3 (06:03):
Yeah, that's official through h Max now, And then we
have an amazing one that is run through our costume department,
which is incredible.
Speaker 2 (06:13):
I know that one.
Speaker 3 (06:14):
It's called I think, and just like that costumes. Okay,
and the Max one is great too, But costumes is
a kind of deeply personal it's sort of it has
a sort of in real time, and it's Molly Rogers
who is our costume designer, and Danny who is again costumes.
Speaker 1 (06:33):
Go, yeah, do you find you know? I spoke to
Scarlet had lunch with me Johansson.
Speaker 3 (06:47):
It was so great.
Speaker 1 (06:49):
Scarlett would say how difficult it is to shoot on
the streets of New York City. And alternately, when she
sees a crew shooting and it gets hurt, even when
it's like not her, she gets queezy.
Speaker 2 (07:01):
But also.
Speaker 3 (07:03):
Funny.
Speaker 1 (07:04):
I don't mean that no, but what it evokes for
people like yourself. I know that happens to you. How
difficult is it to get through a take?
Speaker 3 (07:11):
I mean, on a practical level, it's hard because the
crowd control is an issue. So if you're shooting a
scene on Perry Street, for instance, and there's four hundred
five hundred people, you have to first of all get
equipment through there, and then you're asking everyone please, you know,
be quiet, what we call action. No cameras, no shutters,
(07:33):
no response to the scene, because now they're just witnessed
like you're in a priscenium stage, you know, like a theater.
More complicated than that because the crowds tend to be
really cooperative, sweet they're excited to be there. Some are
New Yorkers, some are and some people just hanging out.
I mean as equal to the street people are the
people that are out hanging out their windows in their apartments,
(07:56):
fire escapes, crazy leaning out. But it's the paparazzi that
is a more complicated affair because you can hear their
shutters and it can ruin a take. And they are
because you don't own the streets. You get a permit,
but we don't dictate sidewalks. To some degree, we have
a footprint, but they are typically right next to the
(08:19):
lens or right over the shoulder of the person whom
you're playing opposite in a scene, so they are in
your eyeline all the time, and some are doing it
purposefully and some are That's kind of where they've found
themselves because they've watched rehearsal. They know what the scene is.
And that's really hard, and that's taken a really it's
been years and years and years of that, and some
(08:40):
of them are more provocative than others. But I think
it's just that is our cross to bear, and we
sort of have to make peace with it, and I
struggle with a little bit. But what are you going
to do? I mean, we can't be inside. We don't
want to be inside. We want to be on the
streets of New York and we want to be active
and we want to be able to still have scenes
that are excited, you know, and interesting and dramatic and
(09:03):
funny and absurd.
Speaker 1 (09:06):
So you just say, it's such an important character. Ye
you made that way back when. I mean, and your
love of New York and you know, and Matthew's love
of New York, your husband and my love like that
for the show. That's key and when you're watching you
guys walk down the street, is it's magical.
Speaker 3 (09:24):
Thank you, We love it. And I will say the
way that it works is an incredible a d department
as well as our crew who were just really used
to it, and they're used to the crowds, they're used
to moving equipment in and out, and there is much
a part of making it possible as anybody else, like
as any of our emotional kind of exchanges with it.
Speaker 1 (10:07):
Thanks for joining us on Table for two. Carrie Bradshaw
is one of the most memorable TV roles of the.
Speaker 2 (10:13):
Past quarter century.
Speaker 1 (10:15):
And over the years, Sarah Jessica has truly brought her life.
I'm curious what's it like to prepare to play such
an iconic character. I once watched a documentary on Marilyn
Monroe and she was talking to I think Susan Strasburg
at the time, and she was about to go down
(10:35):
the stairs, and there were all these press and the
people there, and she said, do you want to see her?
Speaker 2 (10:40):
Watch? When do you want to see her?
Speaker 3 (10:42):
And she Marilyn was talking about herself.
Speaker 1 (10:44):
Talking about herself, and when she went down the stairs,
she looked at the press and her voice changed, and
then Marilyn showed up. Is there something in your day
when you go to work and now you're bringing Carrie
Bradshaw to life?
Speaker 2 (10:59):
Is there a piece jewelry?
Speaker 1 (11:00):
Is there a moment where you go, Carrie's here, She's
in the room now?
Speaker 3 (11:05):
Action?
Speaker 2 (11:06):
Action?
Speaker 3 (11:07):
Action? Yeah. I mean you walk to the set, maybe
up sweatpants, covering part of your outfit because it's twenty
four degrees and it's February, and you have your own
tote bag with your books and your phone in it
and a snack or whatever, and you have maybe a
parka on over a ball gown right, and gloves and
(11:28):
you know, silk liners underneath, and then you rehearse and
then you strip right and the minute that you take
all of the outer layers off and anything that's keeping
you comfortable or closer to you because it's for you
versus for Carrie. The minute I take it off, then
someone calls action. She's there, Yeah, I mean she isn't
(11:50):
always there exactly as I want her, because that's the
nature of acting is It's like you're not a machine.
So you can't like push a button and say like
Carrie's set Carrie silly, Carrie confused. Yeah, So she's there
as much as I can control. But that's when it is.
It's not before and it's not after.
Speaker 2 (12:10):
Cut interesting, that's really but you have to.
Speaker 3 (12:13):
Have all those layers off to do it, you know,
and you have to be totally willing to have all
the things away from you that are comfortable.
Speaker 1 (12:23):
Right, because that would distract from it's.
Speaker 3 (12:26):
Then it's not you're not complete, right. Yeah.
Speaker 1 (12:29):
Were you amazed at the effect that you had in
New York with style and with women and men in
the nineties, I really you get you know, you're credited
and justifiably so for really shifting a whole conversation and
(12:50):
look and now again. So I guess my question is,
were you, like, when was there a moment that you
looked across the street and saw somebody and you're like,
she's dressed like Carrie Bradshaw.
Speaker 3 (13:03):
Yeah, I think over time and I will say that
really is Pat Field and Mollie Rogers. Originally, you know,
Pat was our original custom designer, as you know, she's incredible.
Mollie Rogers was there from day one of the original show.
So I think what we all recognized the ways in
which the show was influencing life, whether it was the
(13:23):
flower you know, or the Carrie name plate yep, or
you know, walking down the street with two purses versus one,
or two pocketbooks versus one pocketbook, or or you'd start
to see young women gathered four and five on a
Sunday for brunch, right and you'd just see more of it,
or groups of women walking. You'd see a kind of
(13:48):
emotional life that wasn't as visible in certain ways. But
the clothes had a huge impact. And I think that
was because Pat never and Molly Patt they know, I
ever felt that they had to answer to anybody or apologize.
I'll speak specifically to Carrie, who has a very specific
(14:09):
relationship with fashion as well vintage. So I think, you know,
there were lots of hits, and there were, in many
people's opinion, lots of misses, and to us, none of
it was a mistake. Like you had. You had to
take an approach and be totally monogamous to an aesthetic idea.
(14:31):
And when you do that, like in anything, it's arresting.
You know, if somebody writes a book and uses a
voice that you've never read before, everybody's going to talk
about it. Or think of early images on MTV and
what made us all stop and watch a video a
(14:52):
hundred times? You know, music, architecture, you know, anything anything
that feels from bush unique and yet unseen, but not arbitrarily.
So you can't just be ridiculous, because you can be
and it really doesn't look like there's any point of
view or perspective. It looks just like you're trying to
(15:13):
be controversial exactly. So I feel like the things that
were influential were because they were a real choice. And
then you you know, you know, in the beginning, I've
told destroy many times that we didn't have anything. In
the beginning, nobody would loan us anything. We were getting
most of Carrie's wardrobe from vintage and consignment shops and
(15:38):
Century twenty one. Occasionally we could afford a dress off
the rack at a finer department store like Sacks.
Speaker 2 (15:45):
But that was very rare for the Plaza.
Speaker 3 (15:48):
That was the most expensive dress they ever bought. It
was a Christian dey or simple sheath dress. I've heard
it was every anywhere from six hundred to eight hundred dollars.
But that would have been like, yeah, you'd be making
decisions then okay, well if you do, we get that,
then we can't have that. Like that wasn't alone. That
was a blue chase.
Speaker 4 (16:08):
Yeah.
Speaker 1 (16:18):
What I think about with you is just how you
live your life. And you do live your life just
like smartly and like you're a self made human that.
Speaker 2 (16:27):
Has been working her whole life.
Speaker 1 (16:29):
And I think that there's an appreciation for what you have,
what you've earned. You've imparted that with your children, and
that's important because it's easy not.
Speaker 3 (16:39):
To and well you're I mean, I think all of
us are making similar choices. We're trying to, you know,
for a bunch of reasons. Whether it's because you always
think you're going to be poor, you always think you're
going to be broke, you know, some of us think
like that, or we're worried we will be Also because
you don't want to blow through money foolishly and spend
(17:02):
it on things that don't really add up over time.
And also you want your children to understand what it
means to earn money, what it takes to earn money,
and the value of it, and that they the expectations
will be the same for them. You know. Colly Parton
(17:23):
said that when she was growing up, she always had
let me say this, I think she not didn't set
this about growing up. I think maybe in terms of
someone will correct this quote, but it was either about
taking care of family, nieces and nephews, or the way
she was raised. And I can't remember, so forget me.
(17:43):
But she always she said, you always have everything you need,
but not everything you want. And I can't remember about
what she could who she was talking about, but I
think it's a great way of living for children that
there needs are meant to be fed and safe and loved,
and you know the important things in life, you know,
(18:05):
books and food and interesting experiences, and they're warm in
the winter and cool as they But they should be
kind for things. They should want things, and we should also,
I think, be interested in how do they contribute to
the things at a certain point exactly.
Speaker 1 (18:22):
You know, to Ava to recently like she's at the
age where I'm like, you know, okay, if you want
something now you have to figure out how to contribute
to purchasing. You know. The ease of Amazon and the
ease of a telephone makes things very easy, and sometimes.
Speaker 3 (18:38):
You forget how the how got There is a gorgeous
is it good?
Speaker 2 (18:42):
The Gannette? The burger perfect?
Speaker 3 (18:44):
I might have you, honestly, do just a little box
inside the column just about the burger. You know what
I mean? Because I promised editors that it would be
more fish because of the location. But I might since
the burger here is so good, we might just do
a box. Since I the column. Please leave the stuff
at about the column? Have I said that already?
Speaker 2 (19:15):
You are an avid reader? You have an imprint you.
Speaker 1 (19:20):
I just got a book that you send which I
have not yet started.
Speaker 3 (19:23):
And Paradise, Yes, great, it's just got a beautiful review
The New York times just this morning when you're picking.
Speaker 2 (19:30):
Up Wow, yeah, congratulations.
Speaker 3 (19:33):
Yeah to the writer writer Alia Chang.
Speaker 1 (19:36):
But also like I mean you aren't you picked right?
Oh yeah, you pick both. But yes, I mean you've
always been a bookie, which I love. And because with
my mother, really she was a librarian.
Speaker 3 (19:50):
She wasn't although actually she said she'd always wish that
she had gotten her degree, you know, as a librarian,
which is a very hard degree to get, very I
do not very hard degree to get really, but she
was an educator. She had her she's a graduate in
she was you know, her specialty was early childhood education.
(20:13):
But she taught up Yeah, so she taught up to
second grade and then she stopped after I was born.
I'm one of eight kids, so she and I'm the
fourth of the eighth. But my mom always my mother
never let us leave the house without something to read.
And that meant even when we couldn't read, So we
would be in the car with picture books or books
that had words and we were not able to read them,
(20:34):
she said, make up, make up your own story, and
she would do the same. She would take us to
this was in Cincinnati, Ohio. We had an incredible library there,
and but she would also take us to the symphony
and the opera and the ballet and art museums, and
we always had a book. And symphony to a very
young child, forgive me, is very boring, but she would
(20:54):
let us have a book, so we would be hearing
this beautiful music and then we'd be looking at a
book in the sament and art museum. You know, we
get bored walking around and you're tired, you're little. Yeah,
she just say just sit on that bench. You've got
your book. Every now and then look around, see that
beautiful painting.
Speaker 2 (21:11):
Online, like holy moly.
Speaker 3 (21:13):
And there came a point in our lives as young
adults where it just became our choice to not leave
the house without a book or something to read, something
to read. The idea of being stuck somewhere for two
minutes or two hours or two months. Sometimes they see
people get on the plane and there's nothing in their hands.
There is nothing in their hands.
Speaker 2 (21:34):
Yeah yeah, I'm like, what are you gonna do?
Speaker 3 (21:36):
What you could do?
Speaker 2 (21:37):
Right? And it's valuable time.
Speaker 3 (21:38):
And I don't mean a phone, because that's the sad
thing is most people are looking at their phones, but
like it just stuns me that you could. And by
the way, listening to a book too, like anything that
makes an experience your own, versus the way we all
get information now, which is kind of siloed, like we're
all getting from the same source. But books take you,
(21:59):
LL swear, they transport you. You learn about other cultures,
other religions and their tribes, their villages and their countries, other.
Speaker 1 (22:07):
Food and just you know, you said, we last summer,
we were meeting for dinner and you were running just
a little late, and you said, and you knew you
were running mates, and you said, bring a book. Yeah,
that was like, bring a book. And now I don't
know if I would have brought a book, but I
brought a book. I brought the book I was reading,
and it was like it was like never alone, never alone.
Speaker 2 (22:29):
And you can also kind of avoid it.
Speaker 3 (22:31):
I wish we You know, you grew up in New
York and it was so great. I know you were
on subways early in the morning, and we all had
our bus pass and stuff like that. But I mean,
and and buses too, like city buses. I thought there
was to me, there was nothing greater than getting on
a bus or a subway early early morning, and people
got their New York Times out, and you know those
people that knew how to fold the Times, and how
(22:53):
about the people that wore the gloves? Yes, because of
the newsprints right exactly. And people you could smell people's colognes.
People hair were wet from the showers. You could smell
like what they shampooed. And you'd look around and you'd
be like, oh my god, what is that book. I've
never seen that book. You've be talking to people, what
is that book? What are you reading? What are you reading?
Speaker 1 (23:09):
And everyone was sort of present because people didn't have
things in the rs.
Speaker 3 (23:13):
Because it makes if you see a book on a
subway car or a newspaper, it's just shocking. I mean,
and you're like, oh my god, look someone's reading. I'm like, Matthew,
looks someone's reading a book.
Speaker 1 (23:25):
Sarah, Jessica and Matthew are avid subway writers, like you're.
Speaker 2 (23:29):
It's the smartest way I know that.
Speaker 1 (23:31):
You know people that surprises people sometimes, but New York
is that kind of city. And you also soak in
like when you're like, yeah, what are your And I
love to walk so like I'll walk forever in New
York just to soak it a reason to walk, right,
what a given sort of Sarah Jessica has no work,
which is a very rare day.
Speaker 2 (23:52):
What is like a day for you that you enjoy
in the city.
Speaker 3 (23:55):
Ideally, Yeah, I'm very bad about getting out of the house.
Once I'm out, it's fine, but I can think of
a million things to do in the house. But ideally
I would, you know, have my head bones on early walking, walking,
listening to a podcast, listening to WNYC Brian Lair, who's
like one of my most favorite on air personality hosts,
(24:17):
thoughtful thinkers. But podcasts are a great friend because you
can't read, and I don't listen to books. So then
maybe I would jump on a train and I would
take the train with my book and I go to Chinatown,
you know, have some dumplings, have some lunch, have some noodles,
some vegetables. Then I would for sure maybe walk home
from Chinatown listening which I do, I don't. I mean,
(24:38):
I've been to Chinatown and I say three or four
times in the last two months, because I love it.
Speaker 2 (24:45):
You've always loved it.
Speaker 3 (24:47):
Love it, I would say. Then I could make a
pit stop at the Whitney on the way back, see
what's going on there. That's like an ideal day, you.
Speaker 2 (24:54):
Know, wrapping you home in the afternoon to them maybe.
Speaker 3 (24:59):
The kids are coming home from school, or maybe I
can take care of some stuff or some calls, or.
Speaker 2 (25:05):
Cook dinner.
Speaker 3 (25:06):
We cook every night. We cook every night. It's a
source of a huge amount of pride for everybody. But
it's also like mystifying because we just don't order in
as a family, and on the rare occasion we have,
we we always here. Like other families, they do it
and then like one kid orders from this place, and
(25:27):
when it's so confusing.
Speaker 1 (25:29):
Everyone's now postmating their own meals in. It's insane.
Speaker 3 (25:33):
But we really do cook five to six nights a week,
for sure. We try to. We we have always have
a Sunday dinner. We invite people. We often go on
Sundays to Jeans. Do you know Jeans? I don't, Oh
my gosh, we go to Jeans. It's on Eleventh between
fifth and sixth closer to six thousand year.
Speaker 2 (25:53):
I live right around from there and I've never been.
Speaker 3 (25:55):
It's a neighborhood establishment's been owned by the same family
since the mid seven Two brothers now two brothers own it.
It's one of the most It is the portrait of
a local restaurant. It's Italian food. If you walk in there,
(26:17):
you are bound to see at least five or seven
of the same people you see every time you go there.
It's a beautiful, low ceiling room. You walk down some
old beat up marble steps. There is a bar that
greets you right in the front that is one of
the most beautiful little bars ever that It's just one
big back room with the most lovely servers. I have
(26:38):
the same thing every time, and I always talk with
the kids like I'm like, when am I gonna order someone,
I'm not gonna You're gonna get the vil pacata extra
large order. You're gonna get a side order of the
apasta palmadoro. And we go around the table. Everybody knows
what we're gonna order. What's papa, what's Papa gonna order?
Shrimp diavolo. You know it's it's just a friendly place.
Speaker 2 (26:56):
I know exactly where it is.
Speaker 3 (26:58):
We'll talk to you, they come up to the table,
they catch up. Yeah. And then another place that we
love is La Repai. You know it. It's been on
Hudson for forty years. It's Hudson just across basically from
Bleeker Street Park.
Speaker 2 (27:13):
Okay, it's an old French restaurant, yep.
Speaker 3 (27:18):
But that's like our family thing. And we'll say, like
we call Victor and Victor Barbon and be like, oh,
Victor's alone in town, Victor will come for dinner, or
Jeffrey Hickey whoever.
Speaker 1 (27:27):
Yeah, you have you, you and Matthew you have you know,
your tribe, and it's such a beautiful tribe.
Speaker 2 (27:33):
And over the years, you know you're a part of it.
You are no thank you, no, no yours.
Speaker 1 (27:39):
I feel I know, but and I feel like I'm
about I feel like we all have we share something.
Speaker 3 (27:44):
Very specially Matthew leaves you, he's like he just loves
you so much.
Speaker 2 (27:49):
He is, Yeah, he really loves you. That's that means
a lot to me.
Speaker 3 (27:53):
And you lived here, you'd be at Jeans every Sunday too, thank.
Speaker 2 (27:55):
You, thank you, thank you.
Speaker 1 (27:57):
And I love that in the sense of the family
and the Sunday night and the rituals, like this is
all we got, like you know what I mean. So
it's like and the kids then they're gone before you
know it, and they're in their world and you just
hope that. Okay, So these are really important moments.
Speaker 3 (28:12):
Yeah.
Speaker 1 (28:12):
One of the reasons I come out here because my
parents are here and my sister's here, so just to
make sure we do connect with Yeah.
Speaker 3 (28:18):
Absolutely, and it's not always perfect. There's always at least
one fight over this one.
Speaker 2 (28:24):
Like the other. Yes, they're in the shower. I was like,
I can't breathe. I can't breathe in this house.
Speaker 1 (28:29):
This how I maybe I haven't breathed in this house
for over twenty years.
Speaker 3 (28:34):
It's possible I haven't taken a deep breath.
Speaker 2 (28:36):
Yeah, seriously, Welcome back to Table for two. Sarah. Jessica
(29:00):
has been a close friend for years.
Speaker 1 (29:03):
But there's a story about us that I've never told her,
and well, I'm just gonna come out and finally tell her.
So I want to share with you a story that
is you don't know the story. It's one of the
most embarrassing moments of my life. What it happened with you?
(29:26):
And it is and I'm gonna tell you quickly because
this is about this lunch is about you.
Speaker 2 (29:31):
But you ate all yeah, yeah you did, but you
should because you love it.
Speaker 3 (29:36):
Oh my God, No, there's a big literally, there's a
claw left. Take a picture from my editor. Hold on, click.
Speaker 1 (29:42):
Click, okay, just quickly. I was a page at NBC
in nineteen ninety. I moved out to LA. I was
just a super you know, big fan. LA story comes out,
you guys to cast LA. Story is on pheladwa you.
I had worked as a page on the show in
New York You want yep. I was in the audience
(30:05):
with my friend Stephanie.
Speaker 3 (30:06):
As a page or as a civilian.
Speaker 2 (30:08):
As a civilian. Now in La, you guys are all there,
and I just came to LA.
Speaker 1 (30:13):
He did a week of shows in La. Wow, you
guys were doing press. I am the story.
Speaker 3 (30:18):
And Steve Martin and me and Victoria Tenant and the
guy yes Richard.
Speaker 2 (30:25):
Yes, all of you lined up in your chairs.
Speaker 3 (30:28):
Were we swiveling? Were they swivel chairs?
Speaker 4 (30:29):
Like?
Speaker 3 (30:31):
No, no, no, no, they were.
Speaker 1 (30:33):
And it's a story that goes nowhere with the exception
of just I finally feel like I have.
Speaker 2 (30:37):
To just get this off my chest. Stephanie is sitting
next to me.
Speaker 1 (30:41):
I raised to ask a question for Sarah Jessica with
no question, but just wanted to connect.
Speaker 2 (30:49):
So I raised my hand. The guy could go with
the mic. I always want take the mic because I'm
a pushy person.
Speaker 1 (30:57):
Stephanie looked at me and I'm uttering nothing. I mean
stuttering and uttering.
Speaker 2 (31:05):
You look at me. You have face.
Speaker 1 (31:07):
Guys, you tell it like to the right, like what
is he? What is this person doing? She has gone
under her seat. I was mortified.
Speaker 2 (31:18):
She couldn't stop me and I'm I have tears in
my eyes.
Speaker 3 (31:21):
The machine.
Speaker 1 (31:22):
But I just wanted you to know that's how far.
That's the moment that I was like, oh my god,
this is connection.
Speaker 3 (31:28):
You did ask a question.
Speaker 2 (31:28):
Eventually something came because we saw.
Speaker 3 (31:31):
In a statement like you're on TV. I have a
question for.
Speaker 2 (31:36):
No, Yeah, you're in a chair. That story is now over.
Speaker 3 (31:41):
I just had to finally, that's very touching. Wow.
Speaker 1 (31:55):
The other tradition that I have in my house is
family stone and I'll say it over and over again.
And I actually posted it on Instagram when I watched
it at Christmas time, and Diane Keaton on my feed
she's a beautiful movie, beautiful, You're incredible.
Speaker 3 (32:14):
Watching her work on that movie was really why incredible
because you know, I think we did First Wives Club
before that movie and positive ready. So I had worked
with her minimally because I don't have I don't think
my character had a lot of scenes with her, but
you know, I just think she's incredible, and so I had,
(32:38):
you know, I was on the set with her a lot.
We rehearsed a lot, first of all, which was really
interesting and very I was really, really nervous. But watching
her work is a very interesting experience. She's really good,
she's very she has a process that's very real and
(33:00):
very committed to. She always has headphones on with a
i'm gonna say a disc man. Really, even at the
time was retro. She's listening to music up until the
director calls action something I'm sure that is specific to
a scene or an emotion, and so she takes the
(33:22):
headphones off and puts them down someplace or hands them
off to somebody. And she is different every time. I mean,
appropriately for the scene. She's not not telling the story,
but she's very you know, for all of her laughter
and the way she's on a talk show, which is
(33:44):
funny and unpredictable and kind of deeply honest and shocking
in her transparency. But she's just so freaking good. So
to watch her do her work like that, because you
don't understand how somebody who appears so effortlessly real on screen,
you know, she's not so bad. It was just very
I was like, oh, so you can you can be
(34:07):
a serious person on the set. You can not talk
to people when you don't need to talk to people.
You can be you know, focused and quiet and kind
of private, like if someone has headphones on, you're not
going to bother them, right, And it wasn't unsocial. It
was serious, but it was it wasn't hostile, do you know.
(34:30):
I mean like there was no one around her keeping
you from talking to her. But it was incredible to
watch her work. And she's just magnificent.
Speaker 1 (34:48):
Your business life is so profound. I mean the fragrance
is to shoes the No Shoe store, which is beautiful
on Perry Street, gorgeous. What was that experience like and
being in the hot that side of hospitality where you're
selling your shoes to a customer and putting them on
their foot.
Speaker 2 (35:05):
How is like?
Speaker 1 (35:06):
Again, people would be like, really, but it's beautiful as well.
Speaker 3 (35:11):
It's the same. Honestly, you know this, you can describe
it just as well. It's exact same thing as what
you did at your family restaurant for your entire life.
It's taking care of the customer. What does that mean everything.
It's from the smallest, littlest thing to the most important
to the stuff that's more obviously big. So you're on
(35:33):
your hands and knees, putting shoes on people, taking them off,
read running back to the stock room, trying to get
what they need, trying to find what they need if
we don't have it looking online, you know, making sure
we can do a special order for this one who's
leaving town, who flights at five o'clock. Whatever it takes
to meet the customer's needs, requests, and then ten steps
(35:55):
beyond that. You never you never stop at that. You
go well beyond that, you know. So that's what it
is to have a store. It's like it's like inviting
someone into your home and then saying, you know, find
the towels. I know you've never been here yourself, but
good luck, you know, find the towels, and there's some
spices in that room over there. You know, you can't
(36:17):
do that customstly.
Speaker 1 (36:19):
You're the kind of professional person that if you're going
to put anything that is about your name on something.
It is going to reflect quality elegance, So like you
being able to go into the store, work in the store,
or just go buy that store to make sure.
Speaker 2 (36:36):
Okay, yeah, how does it look?
Speaker 1 (36:38):
Is it creat Are the shoes placed the way they
that we wanted this season's shoes.
Speaker 2 (36:42):
To look correct?
Speaker 1 (36:43):
Very important time and for people that work not to
always know.
Speaker 2 (36:47):
It's just part of the part of the drill.
Speaker 1 (36:49):
Were you blown away that you created a drink that
is worldwide known and associated with Kerry Bradshaw.
Speaker 3 (36:55):
Well, I you know, I didn't create it. I had
nothing to do with it. I know that when we
first started drinking them on the show, the ones on
the show were that kind of cosmopolitan that you later
learn are not the good ones. They were first of all,
ours weren't real. They were cranberry juice and water. But
(37:15):
there is You can go to a bar and be
served a cosmopolitan that is like just cranberry juice. You
know what, It's like, almost Bordeaux colored. It's like a
pinky kind of Bordeaux or ferry color. So I never
drank cobs and Politans. I thought they were terrible. You're drink,
So it was years and years, I would people would
(37:38):
send them over to me so kindly. People would send
them over and I would say thank you and raise
the glass and take a sip and think like, what
is the what it's all the fuss about? And then
one day I was somewhere and someone sent a Cosmopolitan
over and it was opaque, pale, pink, fleshy, like you
(37:58):
could see the a little bit of pulp of whatever
citrus had been used with a twist, freezing cold. And
I was like, oh, this is a Cosmopolitan. I get
it now and I love them now. And that's been
I would say, I really started drinking Cosmopolitans that I
(38:21):
chose on my own and would order I'm going to
say like six seven years ago, and I love them.
I don't know that we ever expected from the show,
from drinking them that it would turn into a thing.
Speaker 2 (38:32):
Well.
Speaker 1 (38:32):
I mean that, I think just again testament to all
the touch points and the power of the show in
the zeitgeist of the moment that people were like, oh
and the creation of Carrie Bradshaw that with the influence
that this.
Speaker 3 (38:47):
Character had, Yeah, that funny. You can't think about these
things too much, and you can't try to write.
Speaker 2 (38:55):
Right, you can't create them.
Speaker 3 (38:58):
It has to be from the story and true, or
it just looks like you're just trying to make a moment.
Speaker 1 (39:06):
I mean, if you're trying to achieve the end result,
you're gonnat that you can't.
Speaker 2 (39:10):
You got it.
Speaker 3 (39:11):
It's I always say, like, you can't start with a
result and then write kind of into it backwards like that.
It's just awful.
Speaker 1 (39:25):
Sarah Jessica and I have had such a fun and
delicious lunch today.
Speaker 2 (39:30):
Thank you all for pulling up a chair. I hope
you have two.
Speaker 1 (39:33):
But as our time together comes to an end, I
want to congratulate Sarah Jessica on twenty five years of
Sex in the City and hear her thoughts about its
continued success. We sort of are wrapping up our lunch spark,
and I just want to say, I like everyone's listening.
There's like a lot of stuff for you to, like,
(39:54):
I hope, lean into when it comes to Sarah Jessica Parker,
which is not just and just like that, which is
congratulations so good. I mean, it's just amazing, and you know,
I love it.
Speaker 3 (40:03):
And thanks to everybody who's been watching it and who
has been part of the family of it for so long.
You know, we just celebrated the twenty fifth anniversary of
Sex and City, and it's hard to try to communicate
or articulate the kind of I always use the word gratitude,
but for the the gratitude that we feel for the
(40:28):
people who have chosen to keep us in their lives.
You know, we weren't on a free television station. People
made choices about how they were going to spend the
time and how are they were going to spend their money,
to be honest, and kept us in their lives for
twenty five years and have joined us on this next
chapter with such enthusiasm and such spirit and goodwill and excitement.
(40:53):
And it's obviously the only reason we do it is
for this audience who has been a point of inspiration
for us and been loving and hard on us and
have really high expectations. So it's an honor to try
to do right by this long relationship.
Speaker 1 (41:15):
Well, it is joyful to watch, and I thank you
for giving me twenty five years of that and a
very long real friendship.
Speaker 2 (41:25):
Oh my god, very meaningful. I love you too.
Speaker 3 (41:28):
I love you more than all the other people who
come on this show. I know you better, I love
you more.
Speaker 2 (41:32):
You know what, it's very back at you. It's a
context anyway.
Speaker 3 (41:35):
Everyone's like, oh, you don't know.
Speaker 2 (41:40):
Don't forget to go online read the review of the.
Speaker 3 (41:43):
Gannette and it Typically I've got a couple people on vacation.
My editor on holiday for a couple of days, typically
takes the weekend, which I want to give him because
you know, you're on twenty four to seven when you're
in the newspaper business. So I'll make sure your followers
know how to win it posts.
Speaker 2 (42:02):
Yeah, bom, some of you guys still.
Speaker 3 (42:04):
Get the hard copies of your local newspapers and you
know who you are.
Speaker 2 (42:09):
Anyway, Thank you for listening today on Table for two.
You got it.
Speaker 3 (42:12):
Love you Smokey, how fun?
Speaker 2 (42:14):
I Love you too.
Speaker 5 (42:24):
Table for two with Bruce Bosi is produced by iHeartRadio
seven three seven Park and Airmail. Our executive producers are
Bruce Bosi and Nathan King. Table for two is researched
and written by Bridget arsenalt. Our sound engineers are Paul
Bowman and Alyssa Midcalf. Table for two's LA production team
is Danielle Romo and Lorraine Verrez. Our music supervisor is Randall.
(42:47):
Poster Our Talent Booking is by James Harkin.
Speaker 1 (42:50):
And a special thank you to all the people who
work at the Lobster Role better known as Lunch on
Montauk Highway, and a special shout out to Andrea, Thank
you so much.
Speaker 5 (43:00):
More podcasts from iHeartRadio visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Host
Bruce Bozzi
Popular Podcasts
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.
40s and Free Agents: NFL Draft Season
Daniel Jeremiah of Move the Sticks and Gregg Rosenthal of NFL Daily join forces to break down every team's needs this offseason.
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.